Marble
Size 18 x 14,5 x 20 cm
Neo-Attic art, XNUMXnd century BC. J.-C. - XNUMXst century BC. J.-C., after a Greek model from the beginning of the XNUMXth century BC. J.-C.
Origin
Former Philip Lucas collection, Spitafields House, acquired on the English art market
This statue fragment represents the bottom of a full-length female statue.
Resting on a rounded base, the left foot forward, while the right foot (partially missing) was slightly set back and covered by the fallout of a chiton whose folds have been engraved in wavelets.
The hieratic posture (indeed, despite the offset, the feet are joined together), as well as the style of the falling drape, are characteristic of the archaic style of the neo-Attic period inspired by ancient Greek canons.
Here the reference to the severe style of the beginning of the 1th century is obvious, in particular for the representations of the Korê such as the Korê of Euthydikos, called the "Pouteuse" (fig.XNUMX).
This neo-Attic style borrows from the great canons of Greek art from the XNUMXth, XNUMXth and XNUMXth centuries BC. AD sees the light of day after the Punic Wars. The military power of Rome gradually imposed itself and enriched by the conquests, the Romans sought works of art to decorate public and private spaces in Rome.
Faced with this strong demand, the production workshops of the Greek world multiplied the sculptures reproducing or pastiche all the previous Greek styles from the most rigid archaism to the most illusionist realism, offering works of refined eclectic taste.
A Neo-Attic marble statue fragment. 2nd-1st century BC
This statue fragment represents the bottom of a full-length female statue. Resting on a rounded base, the left foot forward, while the right foot (partially missing) was slightly set back and covered by the fallout of a chiton whose folds have been engraved in wavelets.
The hieratic posture (indeed, despite the offset, the feet are joined together), as well as the style of the falling drapery are characteristic of the archaic style of the neo-Attic period and inspired by ancient Greek canons. Here the reference to the severe style of the beginning of the 5th century is obvious and in particular in the representations of the Korê such as the Korê of Euthydikos, called the "Boudeuse" (fig.1).
This neo-Attic style borrows from the great canons of Greek art from the 6th, 5th and 4th centuries BC sees the light of day after the Punic Wars. The military power of Rome gradually imposed itself and enriched by the conquests, the Romans sought works of art to decorate public and private spaces in Rome.
Faced with this strong demand, the production workshops of the Greek world multiplied the sculptures reproducing or pastiche all the previous Greek styles from the most rigid archaism to the most illusionist realism, offering works of refined eclectic taste.
Full Description